By Ernest Kearney — Joyce Lee’s "The Dean’s Office" approaches a number of vital issues involving the propagation of systemic racism in the learning institutes of America.
By Ernest Kearney — Ruchi Kishore, creator and star of "Dirty Chai – a hip-hop bollywood musical" which recently played during the Hollywood Fringe Festival, has staged a rather flat, staggeringly uninspired girl meets girl romance that is strictly by the numbers.
By Ernest Kearney — “The Easter Bunny” is a self-described live stream “urban horror story” by Canada’s Marbles Theatre Group. It was the third virtual show that I had sat through in one evening. The first was a dance performance initially
By Ernest Kearney -
In this refashioning of the first chapter from F. Scott Fitzgerald’s 1925 novel, "The Great Gatsby," the audience is realigned as the embodiment of Nick Carraway, the book’s narrator, and "he/we" arrive at a dinner party thrown by Daisy and Tom
By Ernest Kearney — There are three types of shows I am always in hopes of finding, which keeps me returning, year after year, to the Hollywood Fringe Festival.
By Ernest Kearney — "Goldbaby" is a sketch group cut from the same cloth as Saturday Night Live, but, to their credit, the group is more consistently funny than SNL has been since since
By Ernest Kearney — “EGG,” a clever dance piece chronicling a woman’s life from birth, by Australian Performer Erin Fowler is one of the virtual shows imported to Hollywood Fringe '21 from Down Under.
By Ernest Kearney — In "Estrawbery Fields Forever" (HFF'21), Verenice Zuniga shares with her audiences a journey. Unfortunately it is a journey less like an odyssey of personal discovery and more like the morning rush hour commute on the 405.
By Ernest Kearney — The love story of Lady Shizuka Gozen (1165 – 1211) and the legendary samurai Minamoto no Yoshitsune (1159 – 1189) has been erroneously compared in the West to Romeo and Juliet.